Qi Gong Treatise Sentence 40:
Career Zhenguan fixed Kyushu, majestic palace Que Lin tour.
Pedestrians do not say Emperor Tang, and the monument bao Da'ou is carefully expanded.
The general meaning of this poem is that the "Jiucheng Palace Stele" records the great cause of Tang Taizong Li Shimin, but everyone does not say the deeds of Emperor Tang, but only likes Ouyang Qian's calligraphy.
This poem actually has a deep meaning, and the hidden views behind it are worth our careful taste, so Mr. Qi Gong also explained in detail in the self-annotation of this poem, let's interpret it together:
Jiucheng Gong Liquan Ming.
Emperor Taizong of Tang gathered his teeth on his brothers, exposed his blade to his loving father, destroyed the crowd, and returned to his own affairs. Ninety percent of the summer, Ganquan Jirui, so the whitewash of the hongye to the end. The text of Wei Julu, the word of Ou Bohai, is also chosen above the moment. But the treasure of this monument, wave after wave, discerns into the light; or damaged or consumed, the price of the heavens and the earth, but with its book ears. As for the text, the group of books is there, and it is difficult to read, but it will be hung on the wall stall bed, and those who look at the beginning and the end will not be civilized. The text is irrelevant, what is the matter? Without asking, what is the point of being a man? It is known that the beard of the bow is hung, and the rat whiskers of the stele are ashamed.
Tang Taizong Li Shimin was a ruthless man, and he could kill his brother and force his father for the throne, so it was a piece of cake to destroy the crowd. After the world was stable, Tang Taizong often went to Jiucheng Palace to escape the summer. Jiucheng Palace, this place, was originally a palace built by the Sui Dynasty Emperor, originally named Renshou Palace, and Li Shimin renamed it Jiucheng Palace.
When he was taking a summer vacation, When Li Shimin was walking in jiucheng palace, he tapped the ground with his scepter and accidentally found a spring with sweet water. Thinking that this was a sign of auspicious rui, he ordered Wei Zheng to write an article, and Ouyang consulted Shudan, and achieved the "Jiucheng Palace Stele", which was the best choice at that time.
To this day, many people regard this stele as a treasure, stroke by stroke, whether it is clear or not; or how much the Takumoto zigzag is damaged, these reasons have caused the price of takumoto to vary greatly, but all of them are from the perspective of calligraphy.
As for the content of the inscription, it is recorded in the history books, and it is not difficult to read, but everyone hangs the Tuoben on the wall or spreads it on the bed, and looks at it from end to end, but no one cares what he wrote.
Since they don't even care about the content of the article, who cares about what kind of people and things are recorded in this inscription? Tang Taizong's beard, it is said that the two heads can hang bows, such a good beard compared with the brush of the stele, I am afraid it is much more ashamed.
The ancients erected monuments in order to record people or things, hoping to be remembered throughout the ages. However, the people of later generations only care about the calligraphy of the stele, and do not care about the people or things recorded in the inscription, which is a great humiliation for the person who erected the stele.
Next, Qi Lao's self-annotation then raised a grievance for the inscription:
Every time I see a person who looks at the monument, he who speaks finger paintings has not tasted a word or a historical event, so as to look at the white-headed palace girl, gossip about Xuanzong, and have a cold feeling, so there are also people who can think. This stone is now in Xi'an, and it has been pounded by the felt of the past generation, and there is no word next to it. And the viewer is amazed as the most precious treasure. To the field of reproduction, the Qin family carved, so far has been enjoyed by thousands of gold, so the former people cloud: the right of Han Mo, can be multiplied by ten thousand!
Elder Qi often saw many people who were viewing the monument, pointing at the inscription and explaining it in a hanging river, but none of the words involved the historical events recorded in this inscription. This reminds Qi Lao of a poem by Tang Yuanshu, "The Palace":
The ancient palace is few and far away, and the palace flowers are lonely and red. The white-headed palace lady was there, sitting idly and saying Xuanzong.
This also responds to the two sentences in the poem, "Pedestrians do not talk about the Tang Emperor, but talk about the monument Bao Da'ou". The gossip of the white-headed palace lady repeatedly mentions Tang Xuanzong's relics, which is very humane; but now people watch the "Jiucheng Palace Monument" but do not talk about the deeds of Tang Taizong Li Shimin, which makes people think twice.
"Jiucheng Palace Stele" This stone carving is now in Xi'an, because of the generations of pounding, it has almost become a wordless monument. But the one who watches, touches it with his hand, still thinks it is the most precious treasure.
From the southern Song Dynasty's replicas to the Qing Dynasty's Qin family's engravings, these engraved inscriptions, each reprint is worth one hundred and two silver, so it is still worth thousands of gold. Therefore, in ancient times, some people said: With Hanmo stone carvings, the rich can be enemy of the country.
Mr. Qi's poems and self-annotations say that calligraphy was originally a record in ancient times, especially inscriptions, recording people and events, hoping to show future generations. However, the people of later generations only love his books and do not care about his people and their affairs, which is really a great irony for those who erected the monument.
The famous scholar Dan, the Seiko inscription, has been passed down for thousands of years, and it is a great fortune for those who love books; but those who love books only recognize their books, but do not recognize their people and their deeds, which is the sorrow of historians.
Elder Qi did not mean to say directly, that is, let us those who learn calligraphy in later generations, do not only care about calligraphy, not about literature and history, and never be a calligrapher without culture.